Tag: Krasi Henkel

Posted on in Arlington Art, art, Art Collectors, Art curation, Art Teacher, fine-art, Fred Schnider Gallery of Art Arlington Virginia, The Front Page of Style, TheFrontPageofStyle.com, Tim Davis

Conversations

An Art Exhibition by Tim Davis

Tim Davis discusses his “Ashe” acrylic on plexiglass with a map of Virginia

Art exhibitions often ask questions of the visitors. If the artist is present, social conversations develop. However, silent conversations often take place while viewing a work of art. What is the artist’s message? How does the work inspire or inform?

Tim Davis’s exhibition, Conversations, at the Fred Schnider Gallery of Art in Arlington, Virginia opened with a gracious reception on January 10. Upon entering the gallery, the tone was set by presence. It was calm, intentional, and quietly confident.

Artist Tim Davis is the consummate host. Gracious, inviting, gentle, and generous, he was never too occupied to make introductions, whether to an ambassador and his wife or to a fellow artist. I felt among friends. There were no strangers.

Tim Davis introduced his friends – Left: David Young, the prominent retired U.S. Ambassador to Malawi, known for his extensive service and cultural integration Right: Krasi with Artvocate.us founder, Syahidah Osman and her son

Davis is a gentleman, an artist, a scholar, and a teacher. Those qualities quickly revealed themselves. Soft-spoken and attentive he was the ideal considerate host. He was generous with his time and friends, and sincerely curious about those in the room.

He engaged warmly with guests one-on-one, including my artist goddaughter, whom he met with kindness and interest. An aspiring 15-year-old artist and visual arts student at Duke Ellington School of the Arts, she felt comfortable to share her experience and ask substantive questions with Tim.  Art transcends age and their conversation was animated and inspiring. This spoke volumes about the man behind the work. His generosity is evident in the art itself.

Davis’s paintings invite lingering. They reward patience. The craftsmanship is intricate, layered, and deliberate. Sometimes gold ‘dust’ or subtle swirling elements add both depth and dimension. There is a conversational quality to the work – of endurance, hope, and transcendence. The paintings feel like thoughts recalled rather than scenes explained.

“The Golden Three” acrylic on canvas and plexiglass – inspired by a black and white photo

One painting, “The Golden Three,” tells a story of an old black and white photograph brought to life in color.  The image of the three boys standing at a wall captured this quality beautifully. The work carries a sense of intimacy and timelessness. One of the boys, the one with the red cap, is Davis’s son. The gold dusting and soft movement within the piece lend memory and delight. It is as though the moment exists somewhere between recollection and imagination. It does not insist on meaning. It allows it.

“Do You See US?” Acrylic on Plexiglass (reverse painting)

Another work, “Do You See Us?”, featuring figures set against the Chicago skyline and the lake, resonated deeply with several viewers. The piece acknowledges a universal human truth: the desire to be seen and heard. The struggle is real.  Davis addresses it with empathy.

“Dedicated to ‘Q’ ” – mixed media on plexiglass

Throughout the evening, the atmosphere mirrored the work: thoughtful, respectful, and engaged. The gallery provided a gracious setting for conversation, and the founders’ support of Davis’s work was evident in the care taken with both installation and hospitality. It was an experience designed to connect.

Gallery curator, David Carlson, added depth and context to the exhibition by introducing the gallery’s founder’s vision and mission: “The mission of the Fred Schnider Gallery of Art is to bring together artists of all mediums and styles to showcase their work to Arlington, Virginia and its surrounding communities. We celebrate the unique connection that art can create among friends and strangers alike.”

If the exhibition draws you in, the conversation continues. The exhibition is on display until February 28.

Tim Davis will present an ‘Artist Talk’ on February 7 at the Fred Schnider Gallery of Art. It promises to be an extension of what the exhibition offers: reflection, presence, and the opportunity to experience life through the artist’s eyes.

Left: “Lady in Yellow” mixed media acrylic on plexi and wood Center: (top) “Back to Africa” mixed media, acrylic on plexi on wood (bottom) “On the Front Line #2” acrylic on plexi. Left: “Waiting No. #2” Mixed media, acrylic on canvas and and plexi.

Photo Credits: Krasi Henkel

Art: Tim Davis at Fred Schnider Gallery of Art, Arlington, VA.

Posted on in Alexandria Fine Art, Alexandria, Virginia, art, Art Collectors, Art curation, Art in Old Town Alexandria, Art Opening, Art Students, Art Teacher, Artistic Leadership, Fred Schnider Gallery of Art, lifestyle, Multi media art, The Front Page of Style, Tim Davis Art, Torpedo Factory, Washington D.C.. arts

Just Spend a Little Time Here

Artist Tim Davis Shares His Art

Unlocking curiosity

The gallery light reflected from a bright white line of the architectural painting on the right side of the gallery wall. I caught that light in the corner of my eye while walking past several closed galleries in the Torpedo Factory in Alexandria, Virginia. As if leading me into the studio, the light guided me to the real work of art where I was fortunate to meet the artist – Tim Davis.

Tim’s studio illuminated art. From fresh beginnings to fully completed pieces available for sale. The piece that brought me in was an architectural image with lines and perspective that guided the viewer down hallways and into rooms. Something about the piece spoke to me and encouraged my curiosity.

Versatility in medium combined with the curiosity of ‘why not,’ presents thoughtful innovation

Tim Davis welcomed me to his gallery and studio. More than even the paintings themselves, he exhibited a kindness, gentleness, and genuine hospitality that captured my spirit. We started a conversation that meandered throughout the studio. He showed me his creative works as well as some works in progress. I observed his brushes, paints, supplies, and a preparatory canvas. I felt as though I was viewing something sacred – the tools of creativity and a man’s spirit.

The more we spoke, the more I wanted to know. I took some photos which, in reflection, capture the ease with which the work and the man flowed. He shared how he repurposed drawers into works of art. He explained that his work is diverse and that he enjoys capturing and disclosing ideas.

The prevailing theme of his work is space and statement. Or is that statement with space? His interiors paintings guide and lead. His paintings of people beckon friendship and collectiveness. While the humans are ‘faceless,’ their energy is palpable. I easily imagined hearing the trumpets, clarinet, and saxophone of the jazz players. They were in mid-measure and immersed in their music.

“In the pocket.” Musicians playing perfectly in time with a strong, locked-in groove.

Asked why he painted his subjects without faces, Tim explained that he wants to bring the soul and spirit of the subject to the viewer to discover the context of narrative. He allows the viewer to project and infer. He told me that, “Blue is hopeful, gold is royal, clear space brings openness and thoughtfulness.”

The artist and the man are one and the same. Tim’s persona is expression through art. He taught art for 38 years. The last school where he taught was Thomas Jefferson School in Alexandria, Virginia. He spent years teaching, inspiring, and giving back to future generations. He shared that his high school art teacher saw something in him and took him “in hand to develop.” Tim is the youngest in his family and the only one to go to college in his family.  His instructor saw promise. Tim told me that, “He pushed me to say what I needed to say,”

Golden Faces

Born in Chicago, Tim observed and endured division, separation, and segregation. He explained that Chicago was designed by Mayor Daley into communities – Italian, Polish, Black, Hispanic, and so forth. While very young, Tim instinctively knew, “This is wrong.” This shaped his beliefs and attitude about separation. His art ‘gives voice to the voiceless.’ His figures do not need faces to breathe – they allow their viewers to see with their hearts and experience unity of spirit.  His ambition for his art is to bring awareness to the Black community – to become a beacon of art in a large scope – to demonstrate that connectivity is a key to understanding.  He brings collectors together because art is important in place and space.

Tim Davis’ credentials are deep both academically and professionally. To capture the full breadth of his credentials, a visit to his website will be worth your time.  His exhibitions and accomplishments are extensive.  His art resides in collectors’ offices and homes and has been exhibited in prestigious galleries.

Tim Davis standing before his paintings of Oxen Hill Park for his commission for Cedar Hill Regional Medical Center, 2025 – Photo by: Roy Lewis

Davis began his art journey as a sculptor with intentions of working with bronze. He loved working with form and found it more important than realism. Sculpture’s demand for large spaces caused him to evolve to alternative media.

As an instructor, Tim regularly worked in varieties of media from clay to collage, from pastels to oils, from sketching to charcoals, and from 3-D to canvas. He loved the versatility of teaching alternate media to his students. Through this diversity, he has captured and inspired students in art to pursue their media passions.

With his main studio in the Torpedo Factory, he and his work are on constant exhibit to visitors. Asked how he feels about the steady stream of eyes and potential questions, Tim loves the engagement. He explained that some people walk by, others look in the window, and others step inside. He loves visitors to spend some time – whether they just look or engage with him. He told me, “As artists, we hope they just spend a little time here.” As a teacher, he relishes the opportunity to ‘teach and answer questions.”

“The process” described by Tim Davis

Tim generously shared his artistic process with me. He told me that he can look at a blank canvas for days and weeks. He likes to work from photographs that he often captures while sitting in a park or walking along the Potomac River. He looks at colors and shapes. He sketches, then at a moment – he steps into his craft – and becomes enveloped into the flow of his work. He views his research to be key for his process. Trees, water, even people play important roles in his work.

Architectural geometry flows to ideas and expression

The Torpedo Factory is in Old Town Alexandria. The area is rich in American history, and offers endless water, river, and city views. Tim loves to walk along the banks of the Potomac and enjoys many of the area’s good restaurants. He values his time in the environment as rich sources for ideas and inspiration.

Tim Davis is the featured artist at a new exhibition, ‘Conversations,’ at the Fred Schnider Gallery of Art in Arlington Virginia. The opening reception will be on January 10, 2026, from 5:00-8:00 PM. The exhibition runs through February 28.

Posted on in Ballet in Washington, D.C., Capital One Hall, Christmas Adventure, Christmas Magic, Christmas Music, Christmas Tradition, Christmas Traditions, Cultural Commentary, Dance, Krasi Henkel, lifestyle, Tysons Ballet, Tysons virginia, Virginia Ballet, Virginia National Ballet, Virginia National Ballet Manassas

Virginia National Ballet’s Nutcracker:

A Study in Balance and Intention

Virginia National Ballet brought heart, warmth, and brilliant dance to Capital One Hall. PC: Krasi Henkel

Mastery, Restraint, and Courage Silenced the Full House

Having attended countless productions of The Nutcracker, I could live happily without another one. Yet Virginia National Ballet made me reconsider my conviction. I attended this performance because I love these dancers and this company. I arrived not seeking novelty or nostalgia, but prepared to watch for creativity, interpretation, and intention.

What unfolded was a joyful celebration of the art of ballet. Correct, energizing, and clean.

Character interpretation and presentation were classical yet carried subtle twists. I caught myself thinking, “How understated, and how clever . . .” This Nutcracker was offered with nuance and a luxurious license to entertain, without tipping into excess or spectacle for its own sake. Lightness was mastery. From the houseguests to the naughty boys, from the magical uncle to the presented toys, the opening scene was effervescent.

Snow, the ethereal scene – photo by Dave Pearson

The sets were creative, economical, and effective. There was just enough and nothing fussy.

Clara’s princess tutu was debuted for this production. From my seat, it evoked spun sugar. Combined with her elegant technique and storytelling, she set the standard for excellence throughout the production.

Princess Clara’s new tutu demonstrates attention to every detail. Photo by Krasi Henkel

From sparkles to snowflakes, the performance delivered masterful artistry, complete storytelling, and thoughtful structure. Nothing lingered too long. Nothing asked for attention it had not earned. What distinguished this production most clearly was courage in choice.

Arabian Scene photo by Dave Pearson

The Arabian scene was performed barefoot – no pointe shoes. That was a new twist in my experience and yet it felt authentic. A singular square of fabric defined the space, evoking a desert tent. Color and costume fused movement with intrigue. The barefooted ballerinas changed the atmosphere of the room. Their freedom from constraint allowed grounded power and presence to take center stage. This was intentional vulnerability.

Spanish Scene Photo by Dave Pearson

That same intelligence appeared throughout the production. A single dancer, Alexa Glomp, performed the Spanish variation on the very large stage. Although petite, she filled the stage with power, artistry, and enthusiasm. Her presence carried the moment.

Trepak scene – Photo by Dave Pearson

The Eastern European influence in costume and of course, music set the Trepak scene. The soloist’s choreography was delightfully modern from gravity-defying leaps to spins, and even a nod to break dancing. It brought freshness to a stereotyped musical score.

Chinese Scene – photo by Dave Pearson

In the spirit of visual economy, the Chinese scene resonated brilliantly with a single brilliant dancer and lovable dragon. The interplay between the two lent humor and whimsy.

Mother Ginger with the gingerbread dancers – Photo by Dave Pearson

No Nutcracker is complete without Mother Ginger. Dressed in shades of ginger, she concealed an army of gingerbread dancers both large and small. The tiny dancers tugged on heartstrings while the larger dancers carried the scene.

Young Clara embraces her “princess” self. Photo by Dave Pearson

I loved that the Sugar Plum Fairy was Clara, as her dream. Her arc transformed her into a princess then returned her to the child who loved her Nutcracker. The pas de deux was effortless and weightless, as it unfolded in a dream. Display for its own sake was absent, allowing the story to remain clear, confident, and complete.

The choreography dignified the company dancers. It matched real bodies and their spectacular abilities. Costumes, movement, sets, and music were integrated with confidence and restraint.

Professional dancers and ballet students harmonized organically. Technique and storytelling were equally respected. Children as mice and soldiers enhanced holiday unity. This is the mark of leadership that serves talent and allows it to flourish.

Snow magically appeared. Photo by Dave Pearson

There were moments when I felt carried away. Suddenly the people behind me stopped rustling paper and kicking my seat. There was a stillness throughout the auditorium. I knew then that this performance was an absolute success.

Stillness means the audience is no longer evaluating, no longer fidgeting; no longer anticipating. It means they were fully inside the experience. On this evening, approximately 1,200 people shared that stillness.

That leadership style was visible at curtain call. When co-founders Rafik Hegab, artistic director and choreographer, and Elysabeth Muscat, Managing Director, came on stage, they first applauded the dancers. Rafik stood to the far side, took a brief bow, and remained focused on the dancers. Ego was absent. Excellence was present. The joy was shared.

I left edified. Nothing had asked me to tolerate it. As spectator, I was invited to participate, intelligently, quietly, and fully.

Following the performance, future ballerinas were warmly greeted by Sierra Stipetich and Alexa Glomp

This Nutcracker was light without being thin, precise without stiffness, joyful without excess. It was designed to carry us through the story and safely return us when the curtain closed.

Princess Clara and her prince. Photo by Dave Pearson

Would I see The Nutcracker again? Theirs? Yes. Always.

The next performance for Virginia National Ballet will be the timeless Swan Lake – March 20, 2026 at Hylton Performing Arts Center and March 28, 2026 at Capital One Hall. An online silent auction will be launched in late January. You will be able to bid on trips, art, tickets, and much more. The auction items will be available at both performance venues. Click here for more information on the auction or for tickets.

Posted on in Benny Southstreet, Big Julie, Broadway Musical, Damon Runyon, General Matilda B. Cartwright, Guys and Dolls, Harry the Horse, Joey Baltimore, Krasi Henkel, lifestyle, Lt. Brannigan, Miss Adelaide, Musical Theater, Nathan Detroit, New York City, Nicely Nicely, Salvation Army, Sarah Brown, Shakespeare Theater, Shakespeare Theater Company, SimonGodwin, Sky Masterson, The Front Page of Style, Theater, Times Square

Broadway’s Gamblers Roll the Dice at the Shakespeare Theatre:

There was dancing in the Lobby!

Hayley Podschun in Guys and Dolls at Shakespeare Theatre Company. Photo by Teresa Castracane Photography.

Guys and Dolls – the quintessential feel-good play – hopeful, energetic; dynamic. The performance inspired patrons to dance with big smiles on their faces.

From a technical and performance perspective, the play lived up to its Broadway roots. In many ways it surpassed them. On my drive home, I turned on the Broadway cast soundtrack.  Accounting for recording and broadcast quality, its energy and enthusiasm did not compete with STC. Well done!

Top left – bottom: The cast of Guys and Dolls at Shakespeare Theatre Company. Photo by Teresa Castracane Photography. Lawrence Redmond, John Syger, Julie Benko, Jimena Flores Sanchez, and Katherine Riddle in Guys and Dolls at Shakespeare Theatre Company. Photo by Teresa Castracane Photography. Calvin McCullough and Kyle Taylor Parker in Guys and Dolls at Shakespeare Theatre Company. Photo by Teresa Castracane Photography. The cast of Guys and Dolls at Shakespeare Theatre Company. Photo by Teresa Castracane Photography.

After months of attending powerful productions at the Shakespeare Theatre Company, I found myself at a Preview that offered something refreshingly different. The company was opening Guys and Dolls at Harman Hall. The beloved American musical is presented here with remarkable vibrancy. I was fortunate to see it before the official opening, catching the energy of a nearly sold-out house. It opened to such acclaim and demand that four additional performances were added.

This is not critique. This is anticipation. This is the excitement building toward what promises to be a joyful and spirited theatrical experience, perfect for the season of hope and joy. The live music set outside the picture windows of the Salvation Army, with the perfectly attired band leader, created the ideal atmosphere for the memorable performance.

The artistic team behind this production is impressive. Director Francesca Zambello, Artistic Director of Washington National Opera, brings operatic sensibilities to Damon Runyon’s stylized world. Choreographer Joshua Bergasse, whose Broadway credits include On the Town, delivers legitimate musical theater dancing that feels both classic and fresh. STC continues to expand its presentation range while maintaining its exacting artistic standards, thanks in great part to the vision of Artistic Director, Simon Godwin.

Top Left to Bottom: Julie Benko in Guys and Dolls at Shakespeare Theatre Company. Photo by Teresa Castracane Photography. Hayley Podschun in Guys and Dolls at Shakespeare Theatre Company. Photo by Teresa Castracane Photography. Nick Alvino, Tommy Gedrich, and the cast of Guys and Dolls at Shakespeare Theatre Company. Photo by Teresa Castracane Photography. The cast of Guys and Dolls

What makes Guys and Dolls endlessly enjoyable is its ‘plausible relatability’ in the world it creates – the gamblers, the nightclubs, the dance scenes, the romance, and the comedic timing that lands perfectly again and again. There are no ‘bad guys.’ Some just had a few ‘bad habits.’ Damon Runyon’s language and characters form a theatrical universe that is playful, distinct, and instantly recognizable. Frank Loesser understood this when he composed the score in 1950. He did not try to naturalize Runyon’s style; he amplified it. He gave it music, and that music carries the story with humor, color, and emotional lift.

Top Left to Bottom Right: Hayley Podschun and Julie Benko in Guys and Dolls at Shakespeare Theatre Company. Photo by Teresa Castracane Photography. Jacob Dickey and Julie Benko in Guys and Dolls at Shakespeare Theatre Company. Photo by Teresa Castracane Photography. Hayley Podschun and Rob Colletti in Guys and Dolls at Shakespeare Theatre Company. Photo by Teresa Castracane Photography. Jacob Dickey and Julie Benko in Guys and Dolls at Shakespeare Theatre Company. Photo by Teresa Castracane Photography.

At Harman Hall, I experienced this world take shape. Sarah Brown was uncompromising, Sky Masterson made impossible bets, Nathan Detroit ran the oldest established permanent floating crap game in New York, and Miss Adelaide developed psychosomatic colds from fourteen years of broken marriage promises. It was all there: the charm, the humor, the rhythm, the dancing, the romance, and the fun. The performance quality of acting, singing, and dancing was exceptional. See for yourself –  buy your tickets and make it a holiday event for your family. You too can walk out with a big smile.

Luck be a Lady Tonight – Roll the Dice!

Left: Graciela Rey, Aria Christina Evans, Hayley Podschun, Jessie Peltier, and Jimena Flores Sanchez in Guys and Dolls at Shakespeare Theatre Company. Photo by Teresa Castracane Photography. Right: The cast of Guys and Dolls at Shakespeare Theatre Company. Photo by Teresa Castracane Photography.

Riders, horses and hounds gather for Loudoun Fairfax opening hunt in Hamilton, BVA
Posted on in American Hunting Hound, English Hunting Hounds, Equestrian Life, Equestrian Sports, Equestrian Traditions, Formal Fox Hunt, Fox, Fox Chasing, Fox Hunting, Fox Hunting Hound, Fox Hunting Loudoun County Virginia, Hamilton, Virginia, Horse riding, Horseback Riding in Virginia, horses, Hounds and Horses, Hunt Breakfast, Hunt Horse, Huntsman, lifestyle, London, Loudoun County, Loudoun Fairfax Hunt, Masters of Fox Hounds, MFH, Opening Meet, Overbrook Farm, Sport Horses, Virginia Hunt Country

The Thrill of the Chase:

Loudoun Fairfax Hunt Opening Meet

Huntsman Jeff Woodall leads hounds

The Loudoun Fairfax Hunt “opening meet” on November 2 marked the official start of the fox hunting season. A “stirrup cup” to toast to the season welcomed riders and all guests. The meet was held at Overbrook Farm, the club’s hunt property, in Hamilton, Virginia.

Steffanie Burgevin Serves A stirrup cup Jon Henkel serving with Paul’s tray Bervely Dickerson serves apple cider

Fox hunting on horseback is a heart-racing, sport where good riding skills and instincts are key. The goals of the hunt club are camaraderie, sport, and the preservation of open land. The goal is not to kill the fox but to view it. A good view feeds week-long conversations, stories, and delight.

L: A whipper in ready at the position, Center:Kate Dendinger and Rita Caseman, R: Lawrence T. Dale, MFH and Mrs. Carroll Galvin (Nadine)

The pageantry is poetic, but the autumnal landscape takes one’s breath away. There Is nothing more delightful and invigorating than riding along a ridge engulfed in autumn color and feeling the brisk fall air across the cheeks.

Turnout is an important part in the pageantry of Opening meet – MFH Carroll Galvin’s Horse is study in refined braiding and turnout

The horses were cleaned, bathed, clipped, and braided to be at their absolute show best. They understand and feel the excitement. They too, have friends in the hunt field. It is not uncommon to hear stablemates call for each other when they separate.

Stirrup cups of sherry, whiskey, port, and apple cider were served on elegant wood trays crafted by Master Paul Ritsema. Beyond tradition, the stirrup cup gives just the right warmth and ‘confidence’ with which to commence the ride.

Lining up five horses with ears forward is a challenge – the rider-horse connection works miracles

The hunt protocol is simple – good manners, proper dress, well behaved horses. The members of the hunt and their guests dressed in “formal attire” – gentlemen who are members with “colors” wore scarlet coats and the ladies with colors wear black or navy blue.  Color members reflect their club affiliation by the ‘colors: on the collars of their coats. The Loudoun Fairfax colors are yellow/gold. Coats display the club’s buttons. With LH monogramed.

Masters and riders share a traditional stirrup cup before setting out at the Loudoun Fairfax Hunt

Master of the Hunt: top L: Paul Ritsema. top C: Michael Harper. R: Mary Sell. Bottom: Dr. Carroll Galvin

 Members who do not have colors wear black. Breeches are buff, beige, or canary. Of course, proper safety helmets are a must. The tall black dress boots are polished to a gleam. Showing wear on boots denotes avid hunting but polished and clean.

The attire and horse turn out are not only for show, but to honor and respect the landowners who permit the sport on their farms. Having 20-40 horses gallop on one’s farm is a big deal for which the hunt is grateful and very respectful.

Larry Campbell Brooke Rogers Hannah Rogers

Fox hunting is a centuries old English sport that is steeped in tradition and protocol. Proper manners, proper ‘turnout” for both horse and human are expected. Tradition dictates clean and simple, in every aspect. Besides attire, horse tack and equipment consists of plain flat brown bridles, martingales, simple saddles, well fitted saddle pads, laced leather reins (although progress in technology has loosened this). The simplicity of design also helps in the cleaning of mud-caked tack after a rigorous hunt.

Hunt Master Paul Risema is ready to lead.

A great hunt horse will be relaxed, calm, and attentive as demonstrated by Paul Ritsema’s relaxed mount, Twins – Heather and Lisa’s horses who accommodated hugs and photos; Carrol Galvin’s horse who took the cast off in stride.

To be deemed a hunt horse, a horse has been trained to professional standards for obedience (HALT is the foremost order), agility, respecting the hounds and giving them priority – never kicking. In addition, the hunt horse must have strength and stamina to comfortably go for up to four hours. Some days the hunting is slow, others days, the fox give good sport that everyone rips through the countryside. Even on the fast days, there is order and decorum. Once they are credible hunters, the training continues with reinforcement. We ride animals of prey, creatures with a flight instinct. Our calm leadership builds their trust which keeps us safe, most of the time.

Having hunted the beautiful Loudoun territory for nearly 20 years, I write from experience albeit a bit wistfully. To be able to fully enjoy the sport of fox hunting, a steady, responsive horse is necessary. I had the privilege of having the golden horse who learned hunting quickly and was remarkably adept and obedient. At a downhill gallop, there is no time to negotiate with a horse. When she passed away, try as I might to find another suitable mount I repeatedly wound up with and collected dressage horses. After the third one, I determined that it was a message to stop hunting.  

The Hilltoppers follow Master David Moyes in front of the Overbrook Club House

Master (MFH) David Moyes welcomed the riders and asked Huntsman, Jeff Woodall, to ready the hounds. Dr. Carroll Galvin, MFH, expressed gratitude to the landowners for their generosity.

Members relax after the morning’s ride, sharing stories and laughter over the Hunt Breakfast at Overbrook Farm. Top R: Dr. Kathy Stern and Lawrence T. Dale, MFH; Middle L: Twins Heather and Lisa; Paul Ritsema, MFH and Grill Master; Rita Caseman and Steffanie Burevin; L; Master Lawrernce T. Dale; Bottom Row: David Moyes, MFH (profile); Old hunting buddies – Krasi Henkel and Joseph Keusch

The warm temperature made scenting difficult for the hounds and the riders returned after a few hours of sport to enjoy an opulent hunt breakfast and camaraderie. The horses were watered and comfortably eating hay in their trailers while the riders happily retold their riding and fox-viewing adventures.

Russell Shifflet and Andrew Camp receive their Colors from the Master of Loudoun Fairfax Hunt in recognition of service to the Loudoun Fairfax Hunt.

At the Hunt Breakfast, two industrious and generous members were awarded their Colors. Russell Shifflet and Andrew Camp were recognized for their tireless work on helping clear trails and jumps, helping with social events, and working on the Hunter Pace, the Point-to-Point races and at the Hound Show. Getting one’s colors is a significant milestone in one’s fox hunting career. As Color Members, the gentlemen will sport scarlet coats with the club colors on their collars as well as the buttons of their coats will be engraved with the club’s initials. It is indeed a high honor and well deserved. As in all social clubs, it takes everyone’s contribution to reach success.

The beauty of the hunt club is that whether one rides or not, the social gatherings and friendships do not disappear. The 2025/26 season opened on a brilliant November morning. There will be a subsequent hunt for the Blessing of the Hounds, and a Hunt Ball will be held at the Birkby House before Christmas.

Rows of trailers

Have you dreamed of riding with the hunt? There are many ways you can accomplish that if you already ride well. A call to the Masters for permission to ride might be all that is needed. If you are a beginner, there are outstanding training facilities for you and your horse. My advice: do not risk being hurt if you are not a secure rider, and your horse is not up to the job.

Though my hunting days are behind me, my heart still leaps at the sound of the horn and the sight of the field setting off into the morning mist.

The stars of the hunt: the hardworking, obedient, and lovable hounds of the Loudoun Fairfax Hunt

Hounds go out on Fridays and Sundays. We encourage juniors and guests to join us and experience the thrill of our sport. We are always happy to see new faces in the hunt field! Information on capping can be found  here.

Posted on in art, concert, Dance, Lady Gaga, lifestyle, Light SHow, London, London Tube, Madison Square, Madison Square Garden, Manhattan, Mayhem Ball, MSG, Music, New York City, O2

GO! Go See the Show!

New York!

For my birthday, my daughter gave me a ticket to see Lady Gaga’s Mayhem Ball Concert at Madison Square Garden. I immediately began mentally making excuses not to go—too much work, too far to travel, too complicated. Then I bit the bullet and went to New York for the show.

What would I have missed had I stayed home working? A transformative cultural experience. That would have been my loss, despite whatever tasks I might have accomplished at my desk.

I have been attending concerts since the Who opened for Herman’s Hermits (yes, I was young once). After countless shows in theaters, stadiums, and arenas, I grew jaded. I thought having seen some of the best, I was done.

Not so fast.

These concerts are not merely performers singing their songs loudly while audiences cheer. This is an experience like none other: music, costumes, dance, theater, sociology, spectacular lighting, elaborate sets, powerful themes, and above all—generosity of spirit.

The Artist Who Delivers

We have all read about difficult performers who show up angry, battling group dynamics and technical problems. The performance I witnessed had none of those issues and all of the magic. Gaga delayed the concert start by several hours to accept the 2025 MTV Video Music Awards, including Artist of the Year. Then she arrived and gave us her heart. She had already put in a whole day’s work, then performed an electrifying two-and-a-half-hour concert. And yes, she incorporated her award statues into one of the acts.

The later start gave us time to enjoy a leisurely dinner and a relaxed entry into Madison Square Garden. The music and performance were exceptional—but you don’t need me to review an exceptional artist’s performance. Of course it was off-the-charts wonderful. What captivated me was the audience and the atmosphere they created with the performer.

London!

The Magic of the Crowd

So many people came dressed as Mayhem characters. There was me in a nice colorful cocktail dress, all the way to the full Lady Mayhem complete with lace mask, crown, and red costume. In my party, the costumes were breathtaking. I felt a bit underdressed, but the show went on.

The audience was gracious and kind. It was delightful to meet so many enthusiastic fans who came to enjoy both the performance and the camaraderie. People stopped to admire costumes and introduce themselves. The atmosphere was electric.

I spotted Gaga’s parents in the audience. They must have been over the moon—awards and adulation: proof that those voice and piano lessons paid off.

Breaking My Own Rules

I loved the NYC concert so much that I made a rash decision: I would see it again in London. I broke my promise not to travel in 2025 and booked a flight. While the NYC concert was out of this world, somehow the London performance exceeded my expectations. The audience’s appreciation and Gaga’s acknowledgment and gratitude were palpable.

The London performance was at O2 Arena, where 20,000 people entered, reached their seats, experienced the magic of the performance, and then miraculously filed out onto the Tube without pushing, shoving, or even loud words. They were gentle and patient—even in the very crowded, shoulder-to-shoulder train cars. Twenty thousand people, some dressed in their finest Mayhem costumes, made their way home peacefully. We were a bit less conspicuous on the return trip than we had been heading to the venue.

Before the concert, I worried about wearing our regalia on the Tube and causing other riders consternation. But Londoners are tactful and uninvolved with the strangers with whom they share the evening commute. A few Gaga fans even cheered us on.

Having just seen the NYC show, I was prepared for excellence. But I wasn’t prepared for excellence multiplied. How can perfection improve? The London audience’s energy was supercharged. They cheered, sang, and hugged their neighbors. The costumes weren’t as over-the-top as in NYC, but some were incredible. This time, I made better plans and packed a crown, cape, and dress in my suitcase. I WAS Lady Mayhem! Although, looking at the pictures – maybe more like Little Red Riding Hood?

The Real Gift

After the performance ended and we returned to my friend’s house in London, I pondered what I’d just experienced. This was more than entertainment—it was an entire sensory event that spoke not only to my musical and dramatic interests but to my soul. To my sense of joy and gratitude.

To those of us who have seen many concerts: go to the new ones. To those who haven’t experienced such events: this is a cultural phenomenon worthy of the cost—even if you don’t dress up and look silly on the Tube or Metro.

I thank Lady Gaga for her generosity in sharing her talents with us and creating an impeccable experience worthy of causing me to break my travel moratorium. I thank my lovely and incredible daughter for inviting me and for such a memorable birthday gift.

Photo Credits: Krasi Henkel